A Glass of Chianti

Monday, August 22, 2005

Sarah's avant garde opera

I've just been struck by inspiration! I'm starting work immediately after I finish this post. I am going to compose a new opera. It will be sung in the original German (at least for the first performance. I may decide later that it is so important that people really understand it that I will allow it to be performed in the vernacular, Dialogues of the Carmelites-style). Anyway, we should move on.

It begins:
The stage is clear. White. der Tod enters dressed in white, clearly looking for something or someone. The orchestra swells and it hits - he suddenly knows who he is looking for. He calls out, "die Börse!" Nothing. He moves about on stage with purpose. "die Börse," again. And again. Again. And again. Orchestra music is pounding. Our hearts are with der Tod. Will he find die Börse?

The curtain falls.

The next scene opens with der Tod still looking for die Börse. An indeterminate time has passed, but time has passed. der Tod is still searching. He has not yet found what he is looking for. He calls again.

After 40 more minutes of searching for his beloved, the audience finally catches on. "This is so Waiting for Godot", they think. They are right.

Suddenly -

die Börse enters. She is dressed in green - a capitalist and a murderer (all portrayed through costume, naturally). She sees der Tod and runs toward him, obviously repentant, for her sins are many. They embrace. The last words (form die Börse): "der Tod!" The stage is bathed in red light, then fades to black.

The orchestra closes with a bitonal fanfare in Bb and G.

The critics will praise my social consience! Because of my economic background (well-placed in the program notes), they will understand that die Börse is no normal "purse," but representative of capitalism, and the evil capitalist tendencies in all of us. They will say that the listener should embrace the death of die Börse and look to der Tod as the hero above all heroes. They will note my minimalist lyrics and declare it the perfect choce for such a powerful and important subject. (Sure, one or two will cry that I took the easy way out and they may allege that I only know two words in German. It will not matter - nobody reads the arts critics in the Wall Street Journal, anyway.)

I know that I said I was going to get working on my masterpiece right after this, but I have some Hayek to burn. Can't have anyone find out my about my past...